marc garrett
Since the beginning
Works in London United Kingdom of Great Britain and Northern Ireland

PORTFOLIO (7)
BIO
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80's from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular 'Savage Yet Tender' alternative broadcasting 1980's group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) for a while with Heath Bunting on Cybercafe BBS, dedicated to arts, technology and hacking.

Co-director and co-founder, with artist Ruth Catlow of the net arts collectives and communities- furtherfield.org, furthernoise.org, netbehaviour.org, also cofounder and co-curator/director of the gallery space called HTTP Gallery in London, UK. Currently involved in co-running, collaborating with many others on Node.London. Also co-curating various contemporary Media Arts exhibitions, nationally and Internationally such as Game/play a touring exhibiton.
Discussions (1672) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

Re: Re:I have a theory =


Hi Judson,

Punk dino's - soundz intriguing.

> >dinos might've had large tufts of shaggy red hair on the tops of their s=
kulls
>
>
> I don't know what kind of distribution Dr. Seuss gets in the UK. But
> apparently that was not a crucial part of Marc's childhood.

Imagination is my reality...

>
> Marc, I stand behind your theory 200%. (In the middle though, so you
> can't see me on the big screen, not at either end where I'll be
> exposed.)

I am getting the impression that the dinosaurs I am referring to may be pos=
sess a middle gawe spread, that extra lump of fat in the middle, love handl=
es some people like to call them.
>
> Further(field) evidence is that the Loch Ness monster may also be a
> left-over dinosaur. That living in Scotland, it must have a very
> poor diet. You've seen those old ladies with thin necks and ankles
> and are big and fat in the middle. There's a connection in there
> somewhere.

It is an issue that the Loch Ness Monster has eaten much of the fish from t=
he lake, although it has survived so far on straying tourists, mostly the o=
ne's that have fallen into the water. Also the locals keep it alive by feed=
ing it haggis, a local diet. A haggis is a small animal native to Scotland.=
Well when I say animal, actually it's a bird with vestigial wings - like t=
he ostrich. Because the habitat of the haggis is exclusively mountainous, i=
t is always found on the sides of Scottish mountains, it has evolved a rath=
er strange gait. The poor thing has only three legs, and each leg is a diff=
erent length - the result of this is that when hunting haggis, you must get=
them on to a flat plain - then they are very easy to catch - they can only=
run round in circles.
After catching your haggis, and dispatching it in time honoured fashion, it=
is cooked in boiling water for a period of time, then served with tatties =
and neeps (and before you ask, that's potatoes and turnips).

The haggis is considered a great delicacy in Scotland, and as many of your =
compatriots will tell you, it tastes great - many visitors from the US have=
been known to ask for second helpings of haggis!

The noise that haggis makes during the mating season gave rise to that othe=
r great Scottish invention, the bagpipes.

Many other countries have tried to establish breeding colonies of haggis, b=
ut to no avail - it's something about the air and water in Scotland, which =
once the haggis is removed from that environment, they just pine away.

A little known fact about the haggis is its aquatic ability, scottish local=
s have seen small groups of haggis swimming in Loch Ness.

http://www.cryptozoology.fsbusiness.co.uk/topics/nessie/gray/

>
>
> judson
>
>
> ps. I now realize that "Pet" is a surname and "Name" is your family
> name and am appropriately impressed. "Appropriate" in that I am
> exactly as impressed as might be expected in such a case. Please
> choose a pseudonym like "Hank" or "Norbert" that wee can pretend to
> call you.
>
> On second thought, don't. I will just call you "Hank or Norbert".
>
>
> >Already my theory is being questioned.
> >
> >I have it on good authority that Dinosaur hair was very short, due to the
> >intense humid conditions. Also most dinosaurs were reptilian - didn't you
> >see Jurassic Park?
> >
> >So my theory all dinosaurs were thin at one end - fat in the middle - And
> >then thin at the other end. Still stands, unless proved otherwise.
> >
> >I would also like to mention, while we are still on the subject that the=
re
> >are many dinosaurs still alive, but are they friends of film stars. You
> >cannot see them on the screen because they hiding behind a car, or a
> >building on the set. Again, this is my theory and I am sticking to it.
> >
> >Unless of course someone else proves otherwise...
> >
> >
> >
> >
> > > on 8/11/02 6:35 PM, marc.garrett marc.garrett@furtherfield.org ecrit=
:
> > >
> > > > I have a theory =
> > > >
> > > > That all dinasours were thin at one end - fat in the middle - And =
then
> >thin
> > > > at the other end.
> > > >
> > > > This is my theory and I am sticking to it.
> > > >
> > > > Unless of course someone else proves otherwise...
> > >
> > >
> > > Did you considering the possiblebility that dinos might've had large=
tufts
> > > of shaggy red hair on the tops of their skulls making them "appear" =
to
> >have
> > > big heads?
> > >
> > >
> > > Lotta learna,
> > > -muserna
> > >
> > >
> >
> >
> >+ distance equals rate times time
> >-> post: list@rhizome.org
> >-> questions: info@rhizome.org
> >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set out in the
> >Membership Agreement available online at http://rhizome.org/info/29.php
>
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~
>
> PLASMA STUDII
> http://plasmastudii.org
> 223 E 10th Street
> PMB 130
> New York, NY 10003
>
>

DISCUSSION

Re: Re:I have a theory =


Haggis are by nature very playful creatures, and when swimming, very often
swim in a group - a bit like ducks - where the mother will swim ahead, and
the youngsters follow in a line abreast. This is a very interesting
phenomenon to watch, as it looks something like this :

__---

/ /

/ /

/- /- /- /- / /

The long neck of the mother keeping a watchful eye for predators.

This does however confuse some people, who, not knowing about the haggis,
can confuse it with the other great indigenous Scottish inhabitant, the Loch
Ness Monster, or Nessie as she's affectionately known, who looks more like
this :

__---

/ /

/ /

/- /- /- /- / /

From a distance, I'm sure you'll agree, the tourist can easily mistake a
family of haggis out for their daily swim, as Nessie, this of course gives
rise to many more false sightings, but is inherently very good for the
tourist industry in Scotland.

The largest known recorded haggis (caught in 1893 by a crofter at the base
of Ben Lomond), weighed 25 tons.

In the water, haggis have been known to reach speeds of up to 35 knots, and
therfore coupled with their amazing agility in this environment, are
extremely difficult to catch, however, if the hunter can predict where the
haggis will land, a good tip is to wait in hiding on the shore, beacuse when
they come out of the water, they will inevitably run round in circles to dry
themselves off.

DISCUSSION

Re: I have a theory =


There's a dinosaur in the Whitehouse who is blindly threatening humanity
with extinction...

marc

> This dino issue has got me thinking.
> What is the connection between dinosaurs/reptiles to humans.
> Our skin sheds.
> Are humans in effect dinosaurs. I know if We (humans) dont do something
soon
> the same thing that happened to them will happen to us.
>
> on 8/12/02 9:59 PM, Pet Name at muserna@muserna.org wrote:
>
> > on 8/12/02 8:36 AM, wowm wowm@wowm.org ecrit :
> >
> >
> >> i have a theory that bands whose native language is not english
> >> think that when they sing on english they can sing about anything
> >> even if their music is awful
> >> http://www.epitonic.com/artists/embellish.html
> >
> > I don't like where this topic is going, being a big fan of Japanese Pop
and
> > all, I have to admit they do say some strange things, but I asked a
friend
> > to translate some lyrics originally sung in Japanese and they told me
that
> > It was nonsense and rather silly in Japanese too.
> >
> > BTW - is cheese popular in Jp?
> >
> >
> > -muserna
> >
> >
> > - - - - - - - - - - - - - - - - - - - - - - - -
> >
> > B A T H R O O M
> >
> > by Judy and Mary
> > Lyrics: YUKI / Music: Onda Yoshihito
> > http://www.geocities.com/judyandmarylyrics/orange_sunshine.html#cheese
> > - - - - - - - - - - - - - - - - - - - - - - - -
> >
> >
> > Your eyes are beautiful reflected in soda water
> > My lips tremble unconsciously, your cheeks blush
> >
> > A couple like melted cheese who know nothing of love
> > While walking in the street, unknowingly laughing
> >
> > Let's meet at our regular spot
> > Waiting for the blue sky, we'll share a kiss
> > My breast like ice meets you
> > And becomes hot
> >
> > A couple like melted cheese who know nothing of love
> > Wearing rose coloured glasses I want to have it all
> >
> > Let's be, just the two of us, and never split apart
> > Let's eat cheese pizza under a perfect blue sky
> >
> > A couple like melted cheese who know nothing of love
> > While walking in the street, unknowingly laughing
> >
> > Let's be, just the two of us, and never split apart
> > Even if something sad happens, we'll go right on by
> >
> > In my depressing mood, from afar I hear your voice
> > "Don't forget, I'll always be by your side"
> >
> > Let's be, just the two of us, and never split apart
> > Let's eat cheese pizza under a perfect blue sky
> >
> > Let's be, just the two of us...
> > Let's be, just the two of us...
> >
> >
> > + distance equals rate times time
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
>
> + distance equals rate times time
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>

DISCUSSION

I have a theory =


I have a theory =

That all dinasours were thin at one end - fat in the middle - And then thin
at the other end.

This is my theory and I am sticking to it.

Unless of course someone else proves otherwise...

marc

DISCUSSION

'Six Rules Towards A New Internet Art'- Reconsidered


Eryk's Salvaggio 'Six Rules Towards A New Internet Art'- Reconsidered

"Image is nothing. Thirst is everything. Obey your thirst." - Sprite Soft D=
rink Advertisement.

'I think Net Art will be more interesting and challenging when artists/crea=
tors begin to get used to defying the medium itself. As in not doing what o=
ne is supposed to do in accordance to the medium's demands. This of course =
will take time because a plateau has not yet been reached by any stretch of=
the imagination. Once the distraction of [medium] wars are left behind; in=
respect of whether one should use Flash or ASCII, or any other form of com=
puter technology function. Then the sky really is the limit'.

Eryk's Salvaggio rules, I believe are a personal idea and not a manifesto a=
nd Eyrk seems to have an agenda behind his 'Six Rules Towards A New Interne=
t Art' that has not yet been coherently declared. His take sits well next t=
o Baudrillard's conception that in late capitalist consumer society there h=
as been a shift in which images and signs have increasingly become commodit=
ies. Even though in his text he places a disclaimer contradicting this 'Thi=
s has nothing to do with corporate/anti-corporate; and should not be mistak=
en as the most radical rule'. Yet when looking at Salvaggio's work, he does=
on the whole tend to try to eradicate references to image, his recent work=
s are an accumulation of texts forming a larger image, thus still showing h=
is distrust of images and their possible connotations.

After Sept 11th, one thing we can be sure about is, that we [the world] wer=
e submitted repeated images of the terrorist attack and we did not believe =
it was happening. The broadcasting of the incident served more to desensiti=
ze the world from the realness of what actually happened. Of course, the vi=
ewing of a mass of people, another culture's pain is nothing new, but in re=
flection America is not in the habit of being the victim itself. In reflect=
ion, it seems that the only resource that America had when displaying its n=
ational sense grief was via its own terrestrial media, yet the rest of the =
world was tired of seeing the images repeated over and over again. It was l=
ike watching another American blockbuster, people could not quite believe t=
heir own eyes. And who could blame them? Infotainment is America's greatest=
asset, and its allegiance to corporate domination over its people's lives =
is paramount. Because we are all used to viewing advertisements repeatedly,=
propaganda imposed upon our tired eyes non stop above social interest. The=
inherent isolation that mediation gives, caused confusion and a recognitio=
n of a spiritual vacuum in America, as well as everywhere else in the Weste=
rn dominated zones.

Eryk's piece September 11th, 2001 consisted of motion footage of United Air=
lines Flight 175 striking the South Tower of the World Trade Center. Declar=
ed his distrust of televised images 'When I started seeing images of people=
leaping from the towers in magazines and newspapers, it left me feeling li=
ke we had missed the real essence of what had happened, that these lives ha=
d become images, tape loops, and symbols'.

So the image had finally been fully realized in the ultimate sense, it offe=
red no recourse or definition or communication, when the news channels trie=
d to put across the feeling of death and pain. America was eaten by its own=
myth making, the media had finally ate itself. Part of the issue is that d=
enial seems such an intrinsic part of America's psyche. As a modern nation =
movies and advertisements are part of its own history, even when films are =
made as a historical reference to its own culture and world events that act=
ually happened. Events have been altered, changed so things are much more p=
alatable for the consumer. There are no factual references to real-life sit=
uations that the viewer can rely on and trust anymore. A truly mediated cul=
ture that has been traveling in Hyper - Reality. It seems real but is not q=
uite real. A consumer culture is a mediated culture, defined by culturalize=
d existence - via information via external sources. Infotainment is a produ=
ct and it constantly produces misinformation for commercial gain. Therefore=
realism is not of interest, yet that is where many truth's and hard facts =
do rest, even if it is balancing on a knife edge.

'WWII seems to have been the last "real" war. Hyperreal war began in Vietna=
m, with the involvement of television, and recently reached full obscene re=
velation in the "Gulf War" of 1991. Hyperreal war is no longer "economic", =
no longer "the health of the state". The Ritual Brawl is voluntary and hon-=
hierarchic (war chiefs are always temporary); real war is compulsory and hi=
erarchic; hyperreal war is imagistic and psychologically interiorized ("Pur=
e War"). In the first the body is risked; in the second, the body is sacrif=
iced; in the third, the body has disappeared'. Hakim Bey.

We all know how popular Flash was during the (so called) dot com revolution=
in displaying corporate web sites, terrestrial advertising and of course, =
many films. Flash use has come a long way since the corporate 'show off' da=
ys - when one used to visit business sites and flash noise/visuals explodin=
g before your eyes with a funky beat, imposing a maelstrom of nonsense grap=
hics. Now, artists who use flash themselves are pushing things by using the=
medium for their own terms. What I find interesting, or contradictory to t=
he shortly experienced, net art tradition; a good lesson for all to learn. =
Is that many Flash artists are managing to declare human emotion in their w=
ork successfully. An emotional visceralness communicating to a larger audie=
nce outside the traditional [in house] art-speak.

Eryk Salvaggio's distrust for the generalized image and its potential hyper=
eality and blanketing effect on art are worth acknowledging. But first, one=
must consider the 'word' and its own role historically and its function in=
the 'misinformation age'. Text is seen as the more intellectual form of co=
mmunicatory functions. And ownership of the written word has of course been=
an issue for many years. If one was to immediately accept an idea, without=
first considering one's own 'embodied' grounded beliefs. Then jumping onto=
someone else's conceptualized notion would and can only be considered as b=
andwagoning. Text has been the more traditional cannon for archiving inform=
ation, issuing news and of course, rules. Text tells lies just as much as i=
mages. altering subconscience, perceptions and socially constructed cranium=
s. Images traditionally have been more to do with symbols and metaphors, si=
gnifiers.

'didacticism often plays fast and loose with the truth'. N.Chomsky.

If an institution claims an idea, then removes the author who originated it=
s idea, then that institution can claim leverage by using that idea; thus g=
ain control and pushing its originator aside. M.Garrett.

The selection process of what is seen and read, declares who is judging wha=
t is allowed to be read and seen, a problem that is timeless. Whoever contr=
ols language controls us, and language comes in many forms. It can come in =
the form of a critical text supported by an institution and promoted by the=
media because it latches onto their own assumptions at that time. Or it ca=
n be promoted using terrestrial outlets where people who are not less to re=
ad due to de-education, are more reliant on visual information. So text or =
the use of an image can both be a lie, or messenger of mythologies. What r=
eally matters is the source, where the information has come from and why. T=
he itemizing of Flash as inferior to other forms of creative functions, doe=
s not take into account the context of an artists' own personal reasons and=
purpose for using such a medium.

I am sure Eryk himself would love it if someone offered an equivalent examp=
le, contrary to his notion. An alternative set of rules. The positive thing=
that has come about out of this, is that people are asked why are they usi=
ng the medium? Once the individual concerned has conceptually and intuitive=
ly reevaluated the use of a medium of whether it is appropriate in referenc=
e to their idea(s). A more truthful outcome can be realized, in why they ar=
e using their chosen medium. Let's face it, we are all using a corporate me=
dium - its called a computer.

Making art on the net is a craft, it still involves transmuting a concept. =
And the last thing we all want (I hope) is to get trapped in isolating arti=
sts. If that happens, then we might as well become modernists, and start ar=
guing and putting up fences, using Greenbergian terms (which is a 20th cent=
ury issue) defining the good from the bad. When you define or create rules =
you create borders, fences that people feel hesitant to cross because they =
feel victimized for doing so. This creates a virtual 'art school' compariso=
n that as far as I am concerned should be questioned. Inside, outside, bad,=
good; is not the best way for artists when they should be given the chance=
to explore any medium they choose for their own reasons. By adhering to th=
e process of determining what medium one should use, one creates a 'policed=
' aesthetic which is qualitative. Aesthetic value is ultimately created by =
taste. The cultivation of taste usually occurs via culturalization, "cultiv=
ated" taste. Rules are good to break and I suggest breaking the rules.

Eryk says 'Boundaries are what inspired the "heroic period" of early net.ar=
t- boundaries such as bandwidth, browser design limits, etc. Ironically; as=
bandwidth has expanded and browers more flexible, we have also seen a homo=
ginization of net.art. A design aesthetic prevails; as we see slicker and s=
licker "art" sites with no message or point or content'. I would have to di=
sagree here, for now we are witnessing new artists exploring emotion/ideas =
that do declare real content and message such as Jess Loseby. And actually =
does go further than a lot of 'cyber art', implying that if the artist is g=
ood enough the communication and meaning goes beyond the medium itself. So =
perhaps Eryk's excellent and thought provoking manifesto needs to be update=
d.

marc garrett